"Title" by Your Name Final Draft Spec Script EXT. ELLIOT'S HOUSE - DAY The house is on an average suburbanite street. It's two stories tall, and not too different or remarkable from the other houses that surround it. That is, except for the line of people dressed in black entering the house - entering on account of the funerary reception. DISSOLVE TO: INT. LIVING ROOM - DAY Inside the house there are great throngs of people dressed in black. Some are talking to each other, some are hugging, some are crying. There are people of all ages there. On the mantle of the fireplace is a row of photographs with one face constant among all of them - that of LILY, the young woman for whom the funeral and reception have been held. She's in her early twenties and striking enough, and in the pictures she seems so jovial. From the picture on the furthest left to the center picture, she seems to become more and more quiet, more reserved, until when we finally see the center picture - a professionally done photograph - she seems very demure and reserved, with only a hint of a smile. Next to the photo is a newspaper clipping. INSERT - NEWSPAPER CLIPPING The headline reads "Local Girl Raped and Murdered." There is a picture of Lily in the newspaper clipping - the same picture the clipping sits next to. The text of the newspaper reads: OLEMA, CA - Police found the body of 24-year-old Lillian Garrett off of an abandoned mountain road near town Thursday evening. She was discovered in a shallow grave by police dogs after being reported missing by fiancee Elliot Crawford two weeks prior. Investigators and forensics teams have concluded that the young woman had been dragged out to the road by two unknown assailants and brutally beaten and sexually assaulted before being left to die. The body had several knife wounds and slash marks... BACK TO SCENE. 2. Next to the mantle is young ELLIOT. He's the same age as his departed fiance, and he looks as though he hasn't shaved in a week. Even his black suit is worn haphazardly and wrinkled in places. His eyes are tired behind his glasses. He shakes his head and lowers his eyes, turning away from the photograph and starts to move through the crowd and towards the door. After the first step, he is stopped by a TEARFUL WOMAN who hugs him tightly without encouragement. TEARFUL WOMAN She's in a better place now, Elliot. ELLIOT (listlessly) Sure. He gently pushes her away and continues through the crowd until he is stopped again by a CONSOLING WOMAN, and she takes her hand and squeezes it tightly. CONSOLING WOMAN She's with her family now. ELLIOT Right. He pulls away and just as he makes it to the edge of the crowd, he's stopped one more time by a STALWART MAN, who bear hugs him. STALWART MAN You need anything, you call me, right? ELLIOT Sure. He pulls away and leaves the living room. Behind him, at the cusp of the group, is ASHLEY, another pretty woman his age, and she watches him leave, concerned for him. EXT. FRONT PORCH - DAY Elliot steps out of the house and sits down on the porch steps, resting his elbows on his knees and looking out at the street listlessly. As the door opens behind him, he pulls a pack of cigarettes out of his pocket and pops one into his hand. Ashley comes out and sits down next to him. 3. ASHLEY You don't smoke. He stuffs the pack in his pocket and pulls out a lighter. He sets the cigarette between his lips and lights it while he speaks. ELLIOT Never too soon to start. He inhales, then wisps out the smoke. She watches him strangely. ASHLEY (weakly joking) You know, those things'll kill ya. He chuckles and dips down the cigarette, tapping some of the ash into the dirt. ELLIOT That's the idea. She rests her hand on his. ASHLEY Would you put out the cancer stick and talk to me? He takes another drag. ELLIOT What's to talk about? ASHLEY You were going crazy for the past week and a half, but at least you were conscious, at least you were all over the place and alive. Another drag. ELLIOT And now? ASHLEY And now you don't seem any more alive than she is. He puts the cigarette out on the step and addresses her sternly. ELLIOT What would you know? 4. ASHLEY That one of my friends is dead and another one's looking to follow. ELLIOT So what? She stops and looks away from him, out at the street. ASHLEY You can't live like this. He pops another cigarette out of the pack and sets it between his lips, looking at her as he lights it. ELLIOT Who said anything about living? He takes a drag. DISSOLVE TO: INT. LIVING ROOM - NIGHT Cups and assorted waste are strewn about in the living room, remnants of the funerary reception. Elliot walks in and up to the mantle where the photographs still sit. His tie is loose around his neck and his black jacket is open and if anything, he looks even more disheveled. He stares longingly at the center photo for a moment, then walks by it. As he walks by it, she turns pale in the photograph and her eyes look sunken in. He steps over to the recliner and removes paper plates from it, setting them on the table next to it. He sits and slumps down in it, then reaches into his pocket and pulls out his wallet, flipping it open. Inside it, he pulls out a small picture. INSERT - WALLET PHOTOGRAPH It's a candid photograph of him, Lily, and Ashley together in a coffee house. His arm is draped around Lily's shoulders, and Ashley sits sipping her coffee. BACK TO SCENE. As he looks at the picture, it begins to drip blood into his palm and into his lap. ELLIOT What the hell? 5. Startled, he drops the picture on the ground, but it doesn't bleed. When he looks at his hands again, they're clean. He blinks and clears his head, then leans forward and picks it up again, examining it. INSERT - WALLET PHOTOGRAPH The photo is clean, but he's missing from it. BACK TO SCENE. He looks at the photo strangely, turning it in his hands, looking at it front to back, but then shakes his head and rests it on the table, and walks out of the room, switching off the light as he exits. FADE TO: INT. BEDROOM - MORNING Elliot sleeps restlessly in the king size bed. The covers are uprooted from the mattress and spread haphazardly about him, but blanket the entire bed. The rest of his bedroom - formerly his and Lily's bedroom - still shows signs of her presence. Some of her clothes are still strewn about, and some of the things she liked...stack of horror movies on the dresser, makeup in front of the mirror, stuffed animals in a chair. Pictures of them together. When he tosses again, he pulls the covers more tightly about him and off of the opposite side of the bed, where we see a depression in the surface of the bed...a depression the shape of a human being. INT. COFFEE SHOP - DAY Elliot sits across from Ashley, who sips her tea while eyeing him closely, watching him and his face, trying to read him. He, however, remains fairly listless and quiet, and the silence is awkward and arresting. His cup of coffee goes untouched. Finally, he breaks it. ELLIOT I saw her last night. Ashley sips her tea before answering. ASHLEY Saw who? 6. ELLIOT Her. Lily. She runs her fingers through her hair, exasperated. ASHLEY You've gotta stop doing this to yourself, Eli. ELLIOT I know what I saw. ASHLEY And what exactly did you see? He fishes his wallet out of his pocket and pulls out the photograph from the night before, passing it to her. She looks at him strangely. ELLIOT Take a look. She takes the photograph and examines it. INSERT - WALLET PHOTOGRAPH The photo is the same as it was before - normal. BACK TO SCENE. ASHLEY Is there something I'm supposed to be seeing here? ELLIOT I'm not sure. ASHLEY Then why show it to me? She passes it back to him. ELLIOT I don't know. He takes it and stuffs it back into his wallet, which he puts back in his pocket. She takes another sip of her tea before looking at his coffee and raising her eyebrows. ASHLEY You gonna drink that? 7. ELLIOT Maybe. ASHLEY Jesus, Elliot, would you give me a straight answer? He tilts his head and looks at her sadly. ELLIOT What do you want from me? ASHLEY You. The way you were. Before this. He stares down into his cup morosely. ELLIOT (defeated) Drink your tea. She takes a sip, but can't lock eyes with him again. FADE TO: INT. LIVING ROOM - NIGHT Elliot sits in his recliner in front of the television set, staring at whatever movie or television show might happen to be on. He doesn't really care...doesn't really notice much of anything. The photographs and the newspaper clipping are still on the mantle. Slowly he rises. He drops the remote into the recliner and drags himself into the kitchen. He opens the refrigerator door, and when he does, he hears STATIC coming from the television and his eyes perk up. He pulls a bottle of alcohol out of the refrigerator and closes the door, and as he does, the static ceases. It replaces itself with the sound of fingertips SCREECHING against glass. Slowly, he walks towards the railing and looks down at the television set. The top half of Lily's head - cut off just at the nose - hair hanging down in front of her face. Her hand is in front of her, and is clawing lightly at the glass inside of the television screen. He drops the bottle and it shatters on the floor. 8. She lifts her head up and looks at him, and she smiles. Black blood runs in trickles down the corners of her mouth. LILY It's so cold. He stares at the picture in horror. A flash of static, and then back to our regularly scheduled programming. He rubs his eyes and holds his hand over his face. ELLIOT Fuck. He looks down at the mess - the broken glass and the alcohol. ELLIOT ...fuck. He walks back into the kitchen and grabs a towel, then opens the cabinet under the sink. Slowly he kneels and reaches under the sink, looking for the hand-broom and the bin, when the phone RINGS. It jars him, and he BANGS his head up under the sink. ELLIOT FUCK! He yanks the bin and broom out from under the sink and SLAMS the cabinet door shut. The phone RINGS again. He growls and flings the bin and broom against the wall, and storms up to the phone, yanking the receiver off the hook. ELLIOT (into the phone) WHAT?!? ASHLEY (ON THE PHONE) (surprised) Elliot? He sighs and the phone goes a little slack in his hand. He hangs his head, and runs his hand over his eyes. He's quiet a for a second. ASHLEY (ON THE PHONE, CONT'D) Elliot, are you there? He takes a deep breath, then answers quietly. 9. ELLIOT Yeah. Yeah, I'm here. ASHLEY (ON THE PHONE) You okay? ELLIOT (looking at the television) I'm all right. ASHLEY (ON THE PHONE) You don't sound all right. He leans against the counter, studying the tile while he talks on the phone. ELLIOT Why is it you contradict me every time I tell you something? ASHLEY (ON THE PHONE) Because I don't think you're being honest. ELLIOT It's funny because my fiance's dead and you keep giving me shit. There's silence on the other end of the line for a moment. ELLIOT (CONT'D) Are you there? ASHLEY (ON THE PHONE) I'm coming over. He looks at the clock on the oven. It reads "9:55." He turns back to the counter. ELLIOT Christ, Ash, it's late, can we wait until tomorrow? ASHLEY (ON THE PHONE) I'm coming over now. ELLIOT I don't want the company. I'm going to bed. ASHLEY (ON THE PHONE) Then get some sleep for once. 10. ELLIOT All right. I'll call you tomorrow. He hangs up the phone, and goes and picks up the bin and the handbroom. FADE TO: INT. BEDROOM - MORNING Elliot lays in bed on his side, awake, staring at the wall. A pale, sickly hand - Lily's pale, sickly hand with elongated fingernails - glides along his bicep, and his eyes go wide. In his ear, he hears her whisper LILY I'm so cold, Eli. His body goes numb and cold. Her hand draws away, and when he quickly turns to face her, she's gone. He slowly sits up in bed, drowsy, and tries to shake off the experience. He rises and slides out of bed. INT. BATHROOM - MORNING Elliot stands in the shower with his face tilted up into the stream, letting it wash over him. When we see his feet next to the shower drain, we see a black cloudy substance start to mix into the water, running in from behind him. Soon, two sickly white feet with dirty, jagged toenails step up behind him, and the substance seems to be coming from them. We see two sickly white hands clutch at his chest, and he freezes up. Lily is stepping close behind him, and she rubs her cheek against his shoulder, in a mock affectionate motion that moves disjointedly somehow. It feels off. He has tilted his face low now, and the water washes back through his hair. She slips up and whispers in his ear. LILY It's so cold. He grits his teeth, trying to ignore the ghost. 11. LILY (CONT'D) It's cold without you. She digs her fingernails into his chest, scratching him, making him bleed. LILY (CONT'D) I miss you. She drags her nails along his body, and the blood runs freely. LILY (CONT'D) I want you to come back with me. Keep me company. She bites his ear and whispers as her hands scratch up towards his neck, and she runs a fingertip along his throat. LILY (CONT'D) Let me help you tie the rope around your neck. She giggles and smiles, and blood runs from the corners of her mouth again as she slinks back away from him and vanishes. He wraps his arms around himself and leans against the wall of the shower as the blood runs from his scratches down the drain. He remains completely stone-faced yet shaken somehow. FADE TO: EXT. CITY PARK - DAY Elliot sits on a bench near the children's playplace in the park, watching them on the swings, the slides, the jungle gym, and so on. He watches with a certain bit of longing because he remembers Lily and he knows how things could have been. And how they're not. He dips into his pocket and pulls out a pack of cigarettes, tapping one into his hand. A MOTHER shoots him a dirty look, and he sneers at her as he sets the cigarette between his lips and stuffs the pack back into his pocket, drawing out the lighter. He cups his hand around it and flicks it, igniting it, and uses it to light his cigarette. He shakes out the lighter like he would a match and stuffs it back in his pocket, then takes a puff. He doesn't even notice when Ashley seats herself next to him. 12. ASHLEY Happy place to spend an afternoon. ELLIOT She loved to drag me here and I never wanted to come. ASHLEY Why not? ELLIOT I hate kids, you know that. She didn't really want them any more than I did, but she liked to watch them in their element, just being kids. ASHLEY So why are you here? He takes a drag from his cigarette, then taps the ashes onto the ground. ELLIOT I want to remember who she was. ASHLEY Oh. They remain silent there for a moment, watching the kids. ASHLEY (CONT'D) Sure, Eli, you can start smoking, but around the kids? ELLIOT It's fresh air out here, they can't smell it and they don't mind. ASHLEY Aren't you worried about setting a bad example? He laughs weakly and takes another drag before answering. ELLIOT I look like someone you want to be when you grow up? She smiles a little and takes his hand. ASHLEY Come on, let's take you back home. 13. He yanks his hand away and stands, his jaw slack and his face icy. ELLIOT I don't want to go home. She looks up at him and notes the change in his demeanor. ASHLEY Why not? He laughs, shaking his head. ELLIOT You wouldn't believe me if I told you. She pauses for a moment before speaking again. ASHLEY Then come back with me to my house, you can crash on my couch. He takes a drag off the cigarette and looks at her curiously. ELLIOT You sure? She smiles and stands. ASHLEY Yeah, definitely. Just...no smoking, okay? He drops the butt and squishes it out with his foot. ELLIOT Sure. INT. ASHLEY'S APARTMENT - NIGHT Elliot sits in the living room, looking around. Ashley's place is kind of messy and decorated spartanly but definitely with a woman's hand. He eyes the remote control, and then the television set, and he starts towards the remote. But when he remembers Lily's face on his own television, he pauses, then sits back. He looks at the clock, which reads "7:32." ASHLEY (O.S.) (calling in from the kitchen) It'll be ready in a second. 14. He sits there, and he doesn't know how to be or how to feel, so he doesn't answer. ASHLEY (O.S., CONT'D) You in there, Eli? ELLIOT (calling back) Huh? Yeah, yeah I'm in here. She carries in a steaming pot, smiling as she sets it on the kitchen table. He turns and watches her as she starts back into the kitchen. ASHLEY Come and get it while it's hot. He gets to his feet and walks towards the table, removing the lid from the pot - he sees macaroni and cheese. Ashley comes back in carrying two paper plates, a crinkled handful of napkins, and two plastic forks. She sets them down on the table in a pile and smiles at him. ASHLEY (CONT'D) Sorry, I know it isn't much.